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1
Garg, Ruchi. "THEME DISPLAY IN NATIONAL ART EXHIBITION." ShodhKosh: Journal of Visual and Performing Arts 2, no. 1 (April 11, 2021): 13–20. http://dx.doi.org/10.29121/shodhkosh.v2.i1.2021.23.
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English : The Lalit Kala Academy established for the purpose of greater publicity of visual arts across the country, has been organising the National Art Exhibition since its inception. This prestigious exhibition brings together the best selected works of visual arts under one roof and that of art reflect the the latest trends. These exhibition are a showcase of the achievements of artist working in the field of painting of ceremic sculpture graphic or photographic painting in the country. The Academy has organised 61 National Art Exhibition so far. These exhibitions represents the vivid and representative specimens of the latest trends in contemporary art.
I am presenting some evidence related to the painting related to the National Art Exhibition from 1990 to 2000 A.D.
Hindi : पूरे देश में दृश्य कला के वृहत् प्रचार.प्रसार के उद्देश्य को लेकर स्थापित ललित कला अकादमी आरंभ से ही राष्ट्रीय कला प्रदर्शनी का आयोजन करती आ रही है।यह प्रतिष्ठित प्रदर्शनी विभिन्न कला के श्रेष्ठ चयनित कार्यों को एक छत के नीचे लाती है और कला की नवीनतम प्रवृत्तियों को प्रतिबिंबित करती है। यह प्रदर्शनियाँ देश में पेंटिंग सिरेमिक मूर्ति शिल्प ग्राफिक अथवा छायाचित्र के क्षेत्र में कार्यरत कलाकारों की उपलब्धियों की प्रदर्शन मंजूषा है। यह अकादेमी अब तक 61 राष्ट्रीय कला प्रदर्शनी का आयोजन कर चुकी है। यह प्रदर्शनियाँ समकालीन कला की नवीनतम प्रवृत्तियों के व्रहत् और प्रतिनिधि नमूनों को दर्शाती है।
आज मैं 1990 से लेकर 2000 ई॰ तक की राष्ट्रीय कला प्रदर्शनी से संबंधित चित्रों के विषय में कुछ साक्ष्य प्रस्तुत कर रही हूँ।
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Stillwell, Joana. "Art Museum Exhibitions in the Library." International Journal of Librarianship 9, no. 2 (June 20, 2024): 103–7. http://dx.doi.org/10.23974/ijol.2024.vol9.2.376.
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Typically, museums are seen as the primary venue for exhibitions. However, an interest in library exhibitions has been growing as indicated by increased literature in the library field, albeit with a large focus on academic libraries. On a broader scale, library exhibitions continue to be under-researched as indicated by the continuing lack of library exhibition evaluation standards, library exhibition reviews, and exhibition-related professional training for librarians. In this 2021 study, interviews were conducted at eight Washington, DC-based art museum libraries: The National Gallery of Art, The National Museum of Women in the Arts, The American Art and Portrait Gallery, The Freer Gallery of Art and Arthur M. Sackler Gallery, The Hirshhorn Museum and Sculpture Garden, The National Museum of African Art, The Phillips Collection, and the George Washington University Textile Museum. This paper is an examination of the current state of exhibitions in art museum libraries and aims to establish a set of best practices to help foster the production of art museum library exhibitions.
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Işıtman, Ödül. "Exhibiting Art: The Case of ODTÜSanat." Global Journal of Arts Education 6, no. 1 (May 30, 2016): 26. http://dx.doi.org/10.18844/gjae.v6i1.541.
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The history of ODTÜSanat dates back to 1990s when a public benefit association named Association for Supporting Orta Doğu Teknik Üniversitesi (ODTÜ) students was founded by ODTÜ instructors and administrative personnel. Its aim was to create funds for students who had difficulty in continuing their education due to financial problems. In a short span of time, this association expanded and also was expanded with the support of ODTÜ alumni, artists, and organizations and/or institutions. ODTÜSanat, which started in 1999, is a branch of this project that has continued with success since its beginning. ODTÜSanat is organized annually by ODTÜ in Ankara, Turkey as an art event. It brings together different areas of art including fine arts, music, theatre, and cinema and lasts for a month. The event started in 1999 as National Fine Arts Exhibition with the aim of exhibiting works of artists representing different senses of art in a 1200 m2 space. As its scope expanded, its name evolved into Art Festival in 2007 and ODTÜSanat in 2013. In this article, based on the sixteen-year professional experience in organizing the ODTÜSanat exhibitions, processes pertaining to exhibiting art, namely, planning, preparing, and implementation of the exhibition, are explained with examples of problems encountered and solutions developed. Keywords: ODTÜSanat; art; exhibition; artworks; design; space
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Yu, Hangyong. "NATIONAL THEME IN SCULPTURE AT THE CHINESE NATIONAL EXHIBITION OF FINE ARTS." Scientific and analytical journal Burganov House. The space of culture 20, no. 2 (April 10, 2024): 34–48. http://dx.doi.org/10.36340/2071-6818-2024-20-2-34-48.
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Valerio, María Antonia González. "Repositioning Biotech Arts in Mexico." Monitor ISH 19, no. 2 (December 4, 2017): 157–69. http://dx.doi.org/10.33700/1580-7118.19.2.157-169(2017).
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This paper examines the role played by biotech art in Mexico and the way in which it has been inscribed in the local issues. Specifically, it focuses on the first biotech art exhibition in Mexico and on the production of the installations at the National University. It emphasises the epistemological and aesthetic problems encountered during the production of the artworks and the setting up of the exhibition.
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Boluža, Anda. "RESEARCHERS, CURATORS AND DESIGNERS: THE EXHIBITIONS AS THE SPACE FOR COLLABORATIONS." Culture Crossroads 22 (September 13, 2023): 149–60. http://dx.doi.org/10.55877/cc.vol22.444.
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The article looks at thematic exhibitions that explore certain cultural and historical processes and examines the specifics of the exhibition as a collaborative process between three actors: academic researchers, curators and designers. Such exhibitions, grounded in cultural aspects and built on academic research outcomes, differ from classic art displays in the sense that they lack artworks that “speak for themselves”. Moreover, the research often is based on the written word and original documents or artefacts that are visually uninteresting/non-appealing or monotonous. On this account, the exhibition’s story and visual form is put in the hands of the curator and designer. Does this vital role give designers and curators the authority to rework the research that underlies the narrative? Is the design applied as the exhibit itself ? To answer these questions and to explore artistic research in the context of exhibitions, this article discusses the exhibitions carried out at the National Library of Latvia. The article looks behind the exhibition production process to examine the collaboration methods employed by the creative teams consisting of researchers, curators and designers.
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Bahji, Zineb Bahji. "Ahmed Cherkaoui : Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 27.03.2018 - 27.08.2018." Museum and Society 17, no. 1 (March 10, 2019): 137–40. http://dx.doi.org/10.29311/mas.v17i1.2977.
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The exhibition Ahmed Cherkaoui: Entre Modernité et Enracinement, Museum Mohammed VI for Modern and Contemporary Arts (MMVI),Rabat,Morocco, 27.03.2018 - 27.08.2018 was held in a succession of art exhibitions that Museum Mohammed VI has programmed since its creation in 2014 to preserve, promote and celebrate the national arts of Morocco. The exhibition introduced and represented the artworks of one of the iconic founders of Moroccan modern painting in post-colonial Morocco, a leading figure who experimented with material and content to create a harmonious and mystic synthesis of the traditional and the modern. Through a varied set of abstract paintings and drawings, the exhibition illustrated and interpreted Cherkaoui's works, and it narrated the life of this artist to show how his hybrid cultural experience influenced his creation. Cherkaoui's fascination with the popular signs and decorative symbols of his civilization and his passion for abstraction in modern art inspired a unique plastic vocabulary and style that marked the birth, development and history of modern art inMorocco.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Abdul Halim, Siti Nur Balqis, and Sarena Abdullah. "Respons Seniman Malaysia Dekad 1970-an terhadap Dasar Kebudayaan Kebangsaan: Satu Analisis Awal Pameran "Towards a Mystical Reality" (1974) dan "Rupa dan Jiwa" (1979)." Melayu: Jurnal Antarabangsa Dunia Melayu 13, no. 2 (July 7, 2020): 173–98. http://dx.doi.org/10.37052/jm.13(2)no1.
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Art exhibitions play an important role in developing and supporting art activities in Malaysia and are often used as platforms to showcase works of the visual arts to the public. The National Cultural Policy (NCP) (1971) had a profound impact on the development of the visual arts in Malaysia. This policy is the country’s official attempt to establish a Malaysian identity, especially in the arts. Indirectly, it also challenged the boundaries of the definition of art in terms of philosophy, sociology, and aesthetics, in the context of exhibition practices. This paper discusses two local art exhibitions— Towards a Mystical Reality (TMR) (1974) and Rupa dan Jiwa (1979). This paper discusses both exhibitions in the contexts of the NCP, particularly by focusing on the aspect of (Malay) nativism, and through the introduction of new ideas and concepts with an intellectual component.
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STAVILĂ, Tudor. "Referring to one exhibition." Arta 31, no. 1 (September 2022): 65–76. http://dx.doi.org/10.52603/arta.2022.31-1.09.
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The National Art Museum of Moldova constantly surprises with vernissages and original themes, regardless of whether it refers to personal or group exhibitions, to regional or international activities. The presence of the exhibition “Five couples”, which was opened this year, on May of 17 and it confirmed the actuality of some events, which have became a tradition and an evolution of the performances of that institution. The moment refers to painters and their works, which were active in various cultural spaces of modern Russia and interwar Bessarabia, from the Romanian Kingdom before the Second World War and the period of the emergence of the Moldavian SSR, following a not simple artistic way, in completely diverse and incompatible environments. Their creation demonstrated the existence of two value systems: one was of European formation; another was of Russian production, both were belonging to the opposite visions. Mihail Grecu and Lidia Arionescu, Mihail Grecu and Fira Grecu, Moisei and Eugenia Gamburd, Valentina Rusu-Ciobanu and Glebus Sainciuc, Ana Baranovici and Dmitrii Sevastianov were honored at the exhibition.
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Orton, Dineke. "From the physical to the digital: Encounters in the KKNK online gallery." Image & Text, no. 36 (March 14, 2023): 1–21. http://dx.doi.org/10.17159/2617-3255/2022/n36a24.
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This study explores the processes and curatorial techniques that support corporeal engagements with online exhibitions. Exhibitions, physical and otherwise, are a complex interplay between spaces - real and imagined -audiences, and tangible or intangible objects. This is a guiding notion of this article, supported by Merleau-Ponty's perspective of the relation between internal human experiences and the external bodily encounters that shape them. I maintain that differing digital curatorial presentations can enhance or subdue the embodied interaction of visitors. By relying on my lived experience of navigating the transfer of the Klein Karoo National Arts Festival's visual arts programme of 2020 to the online sphere, I discuss various strategies deployed to encourage embodied engagement. Amongst other findings, the study underscores the need to consider audience preferences and allowing visitors a sense of agency to choose how they want to engage artwork online. Even though the arena of exchange might differ, I argue that all exhibitions, whether online or brick-and-mortar, provide audiences with the possibility of an engaging experience. In addition to the exhibition itself, viewers embody another energy - and it is the viewer's deliberate performance and choice to interact that produces the distinctive experience of an exhibition.
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Gil, Magdelena. "Exhibiting the Nation: Indigenousness in Chile's National Museums." Museum and Society 14, no. 1 (June 9, 2017): 82–97. http://dx.doi.org/10.29311/mas.v14i1.627.
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This article describes the history of Chile’s national museums, focusing in particular on their exhibition of indigenous cultures. Three museums are considered: the National Museum of Natural History (originally the National Museum); the National Museum of Fine Arts; and the National Museum of History. Using museum catalogues, visitor’s guides and bulletins as sources, this research traces the role given to indigenousness in the museums’ exhibitions through time. Initially, the ‘Indian’ was presented as either part of the territory conquered by Chileans, or as not part of Chilean culture at all. By the twentieth century, however, a new narrative emerged which recognizes the indigenous people as the ‘pre-historic’ inhabitants of Chile. Most recently, a more complex narrative presents Chile as a blending of races and cultures. Overall, we see that today each museum continues to see nationhood as something that is monolithic, allowing little place for indigenous people beyond mestizaje (blending of ‘races’).Key words: indigenous, exhibitions, Latin America, national identity
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Kallestrup, S. "Romanian 'National Style' and the 1906 Bucharest Jubilee Exhibition." Journal of Design History 15, no. 3 (January 1, 2002): 147–62. http://dx.doi.org/10.1093/jdh/15.3.147.
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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.
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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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Balashov, I. V., E. N. Leventseva, and A. A. Kraeva. "From the agitational agricultural exhibition to the modern exhibition and memorial complex VDNH." Zemleustrojstvo, kadastr i monitoring zemel' (Land management, cadastre and land monitoring), no. 8 (July 19, 2020): 38–42. http://dx.doi.org/10.33920/sel-4-2008-06.
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The authors analyze the history of the Exhibition of Achievements of the National Economy, which was originally created as an agitational agricultural exhibition. This place overcame several stages of development, and today continues to play an important role in the life of the country. Having emerged as a dream city, embodying an impracticable image of future abundance and happiness, it reflected the scientific and technological achievements of different eras, became a platform for the synthesis of arts, where many artistic, urban, technical and scientific ideas were tested. The article gives the examples of the Stalinist architectural style and a plan of monumental propaganda. The exhibition area has preserved the fragments of an ideal Soviet village, a machine-building station, a livestock town and a Michurin garden.
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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
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Bizio, Krzysztof. "Wybrane koncepcje architektoniczno-wystawiennicze pawilonów narodowych krajów Europy Wschodniej na targach World Expo 2000-2020 w kontekście kreacji wizerunku narodowego." Przegląd Wschodnioeuropejski 14, no. 2 (December 24, 2023): 349–65. http://dx.doi.org/10.31648/pw.9721.
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This article examines the architectural and exhibition concepts of the national pavilions of Lithuania, Latvia, Estonia, Belarus and Ukraine, which were created for the purposes of the World Expo exhibitions in the years 2000-2020 in the context of the promoted national image. After 1991 and the collapse of the USSR, the countries of Eastern Europe began the process of creating their own national images, in which the World Expo exhibitions became one of the most important platforms for international presentations. The article discusses selected exhibition strategies presented by these countries at six exhibitions: World Expo 2000 in Hanover, World Expo 2005 in Aichi, World Expo 2010 in Shanghai, World Expo 2015 in Milan and World Expo in Dubai 2020. The analysis of solutions was carried out from the perspective of searching for unique forms that distinguish the concepts of individual pavilions. The result of the research was the specification of the tendencies that distinguish pavilions of Eastern European countries from other solutions.
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Калимова, Е. В. "Russian Fine Art at the 1893 World’s Fair in Chicago." Scientific Papers of St Petersburg Academy of Fine Arts, no. 68 (March 25, 2024): 93–103. http://dx.doi.org/10.62625/2782-1889.2024.68.68.007.
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Выставка 1893 г. в Чикаго стала крупнейшей в истории XIX в., утвердив США как активно развивающуюся державу. В России к участию в этой экспозиции отнеслись чрезвычайно серьезно: был сформирован организационный комитет и специальные комиссии, отвечающие за конкретные отделы, в том числе отдел изобразительного искусства. Его задачей стала демонстрация национальной школы изобразительного искусства и произведений ведущих современных художников. Русское искусство демонстрировалось в 16 разных выставочных зонах. В статье приводится обзор основных площадок, отмечается специфика экспозиций. The 1893 World’s Fair in Chicago was the largest in the history of the 19th century, establishing the United States as an actively developing country. In Russia, participation in this exhibition was taken extremely seriously; an organizing committee were formed as well as the special commissions responsible for specific departments, including the fine arts department. Its task was to demonstrate the national school of fine arts and works of leading contemporary artists. Russian art was demonstrated in 16 different exhibition areas. The article provides an overview of the main sites, and specifics of the exhibitions.
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Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.
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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.
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Tószegi, Zsuzsanna. "Where is the border of Europe? Original works of art on this and that side of the river Lajta." Art Libraries Journal 14, no. 3 (1989): 21–23. http://dx.doi.org/10.1017/s0307472200006362.
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From a cultural point of view as well as politically and geographically, Hungary is very much part of Eastern Europe; although the “Iron Curtain” appears less formidable than hitherto, opportunities for people to encounter works of art are relatively few. In these circumstances, public libraries have a vital role to play in organising art exhibitions; their exhibition activities have been surveyed, and could in future be coordinated, by the National Széchényi Library. With some notable exceptions, the scope of exhibitions has tended to be unadventurous, focussing especially on the graphic and book arts because of their obvious relevance in a library environment. There is a particular need for exhibitions for children which would encourage uninhibited experiences of works of art and design.
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Sanfuentes, Olaya. "Latin American Popular Art in a Museum: How Things Become Art." Artium Quaestiones, no. 29 (May 7, 2019): 63–89. http://dx.doi.org/10.14746/aq.2018.29.3.
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In 1943 when Universidad de Chile celebrated its centennial all Latin American nations were invited to participate in the commemorative events. One of the most interesting was the Exhibition of American Popular Art at the Museo Nacional de Bellas Artes(National Museum of Fine Arts) which brought together the objects from participating countries. The Universidad de Chile´s invitation asked countries to send functional objects that were part of the people´s daily lives. The exhibition was very successful, critically acclaimed, and highly attended. But above all, it planted the seed for what was to become the Museo de Artes Populares Americanas(American Popular Art Museum) functioning to this day.In this essay I would like to highlight a series of contexts, actors and institutions behind the phenomena: specific incarnations of Pan Americanism during the Second World War; the Latin American perspective in general and in particular, the Chilean perspective of the university´s role in society; the new value of Latin American arts since the 20thcentury. These contexts and events are useful to shed light on the “social life” of the objects that were part of the exhibition and they also help us to understand a dynamic definition of art which emerged from the recognition of craft in use as worthy of exhibition in a National Fine Arts Museum and then to remain at the permanent collection of a popular art museum.The radical importance of this essay is that it constitutes an example of a thing which represents not just art but also other values. In a midst of the World War II, Latin American Popular Art represented peace. The objects of the exhibition were seen as incarnations of Latin American cultural identity and historiography has gone on to view Latin American culture as a specific contribution to peace effort.
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Giustino, Cathleen M. "Rodin in Prague: Modern Art, Cultural Diplomacy, and National Display." Slavic Review 69, no. 3 (2010): 591–619. http://dx.doi.org/10.1017/s003767790001216x.
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Fin-de-siècle Prague, a provincial capital city in the Habsburg empire, was a site of Czech-German nationality conflict. In 1902 it was also home to the largest exhibition of Auguste Rodin's art outside France during his life. Due to the nationalism that enveloped Czech culture and politics, the Rodin spectacle was no mere display of modernism. National activists in the Manes Association of Visual Artists, including Stanislav Sucharda and Jan Kotera, designed the Rodin exhibition to advance Czech cultural maturity through cosmopolitan art and to convince foreigners of the Czech nation's singularity, unity, and progressiveness. Ultimately, though, the events surrounding the exhibition of Rodin's works in Prague projected Czech disagreement over the meanings of folk heritage and western progress for national identity. Still, the blending of modern display and cultural diplomacy strengthened French-Czech relations and in small but significant ways helped secure Czechoslovakia's creation at the end of World War I.
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Grube, Signe. "PERSONALITIES OF PAINTERS VILHELMS PURVĪTIS AND IMANTS LANCMANIS IN THE LATVIAN ART FIELD IN THE 20TH AND 21ST CENTURIES." Culture Crossroads 23 (January 10, 2024): 178–89. http://dx.doi.org/10.55877/cc.vol23.391.
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The Latvian National Museum of Art’s 2022 exhibitions “Purvītis” and “The Art of Imants Lancmanis”, one dedicated to the 150th anniversary of Vilhelms Purvītis and the other a retrospective exhibition of works by Imants Lancmanis, are united by their ambition. It is a testimony to its time and to the personality of the artist. The main aim of this article is to use the sociology of art to portray the influence of two artists, painters and leaders of national art institutions, on the formation of national art perception in society. Two personalities, each working in their own time, but both with strong social capital and habitus – the ability to use it to shape the rules of the Latvian art field and construct national identity.
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Herder, Scott. "Literature as a Technology of Commemoration at Expo 67." University of Toronto Quarterly 92, no. 1 (February 1, 2023): 1–26. http://dx.doi.org/10.3138/utq.92.1.01.
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This study highlights the significance of literature to Expo 67 and the tradition of world exhibitions. Like the world’s fairs before it, the Montreal exhibition promoted literature as a technology of national progress. Yet Expo 67 reflected simultaneously the contemporary anxieties about technology and nationhood expounded by George Grant in the 1960s in contrast with the celebration of nationalism and technological progress bound together in the tradition of world’s fairs. Though world’s fairs had depicted the educational utility of literature throughout their tradition, Expo 67 emphasized literature more than any world exhibition had to that point. Its theme, Terre des hommes, drawn from Antoine de Saint-Exupéry’s autobiographical narrative, its literature conferences and poetry performances, and the broader textuality of Expo 67 as a “total environment” were intended to deploy texts in promotion of the ideals of universal humanism. However, I find that poetry performances by Michèle Lalonde, George Clutesi, and Duke Redbird contradicted the event’s stated ideals by spotlighting the negative effects of technology and ongoing colonial violence. I argue further that large-scale literature exhibits at Expo 67 resisted the humanist ideals of the event by continuing the world exhibition convention of treating literary works as an educative technology of national progress. As a result, I find that Canadian literature at Expo 67 complicates the Canadian collective memory of the event and the 1967 Centennial Year.
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Wasserman, Krystyna. "The National Museum of Women in the Arts Library and Research Center." Art Libraries Journal 13, no. 3 (1988): 10–13. http://dx.doi.org/10.1017/s0307472200005757.
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The National Museum of Women in the Arts was established in Washington in 1981 to make known the achievements of women in the visual arts. Its Library and Research Center plays a central part in the Museum’s essentially educative role, providing information on art by women primarily by means of one of the largest specialised collections of materials on women’s art. This includes extensive archival files and a number of special collections. Ongoing projects include the compilation of a database on women artists, an inventory of works of art by women in private and public collections, and an index to women artists documented in group exhibition catalogues. The activities of the Library and Research Center demonstrate how this and other art libraries can counteract the neglect of women in the arts.
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Wateren, Jan van der. "Connections and collections: Britain’s National Art Library and the former USSR." Art Libraries Journal 17, no. 2 (1992): 32–36. http://dx.doi.org/10.1017/s0307472200007811.
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The National Art Library’s coverage of Russian and Soviet art is extensive if uneven, comprising some 20,000 titles. These include approximately 100 serials from the former USSR, a small number of manuscripts, some significant livres d’artistes, illustrated and illustrated childrens’ books, and many exhibition catalogues. The important Larionov/Gontcharova collection was begun when the Museum purchased certain items from an exhibition it organised itself in 1926; many more items (including part of the artists’ library) were acquired in 1961, and yet more have been added since. The Library’s collections of printed ephemera include work by El Lissitsky and Rodchenko. The collections in the Library, which are being developed partly through exchange, are complemented by examples of Russian fine and decorative arts in the collections of the Victoria and Albert Museum - the home of the National Art Library.
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Garduño, Ana. "Tokio descubre México." Latin American and Latinx Visual Culture 5, no. 1 (January 1, 2023): 48–64. http://dx.doi.org/10.1525/lavc.2023.5.1.48.
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This is a case study that analyzes the cold-war era policies of the Mexican government with respect to art exhibitions. In Washington, DC, in 1953, an exhibition of ancient Japanese art opened and thus ended the artistic invisibility of Japan that stemmed from the Second World War. Following this sign of “official rehabilitation,” Mexico presented a compendium of much of the history of Mexican art in Japan in 1955. The exhibition, Mekishiko Bijutsu-ten, reproduced an exhibition archetype that had been formalized decades earlier, by building itself around three large nuclei: ancient, modern, and popular art. There were in fact three exhibitions—each coordinated by the Instituto Nacional de Bellas Artes (INBA, Mexico’s national institute of fine arts)—with pavilions at the Venice Biennale of 1950 and at Paris’s Museum of Modern Art in 1952. Together, they demonstrate the power of the INBA over ideas about Mexican art. The adjustments in the selection of works sought to reveal aesthetic parallels with Japan and generate cultural empathy. At the time, Mexico was triumphantly promoting its art as a product of an artistic renaissance that had occurred after the 1910 Revolution, an avant-garde that was seen as a possibility for the future of Japan. The Mekishiko Bijutsu-ten, too, was received as a novel proposal to activate old artistic forms for contemporary aesthetic production. This practice contrasted with the Japanese view of the issue, which had generally experienced as disruptive attempts to modernize the past. Thus, the exhibition fostered the transfer of cultural strategies.
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Alt, Gordon. "Andrea Verrocchio and His Followers: An Exhibition." Sculpture Review 68, no. 4 (December 2019): 8–15. http://dx.doi.org/10.1177/0747528420901913.
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Fifty exceptional works of Andrea del Verrocchio (1435-1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of the masterpieces included in this important exhibition, which covers a full range of his contributions and will remain on view until January 12, 2020. This is the only opportunity to see this powerful collection in this country as it returns immediately to Italy.
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Ștefănescu, Mirela. "Iassy – Sourse of Local, National and International Talents." Review of Artistic Education 18, no. 1 (March 1, 2019): 246–54. http://dx.doi.org/10.2478/rae-2019-0027.
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Abstract The city of Iaşi, one of the most important visual art centers in the country, is one with an extraordinary creative potential, this being the reason why in this paper we mentioned local artistic personalities of national and international value. In this context, we will present among the most relevant exhibiting events that are constantly organized in Iaşi and which bring together local, national and international creative values. We would like to mention the ArtIS Salons, the Drawing Salon, the Iasi Identity Exhibitions, the Visual Arts Exhibitions of the International Festival of Education, the Visual Arts Exhibitions of Euroinvent, Inventica, the International Triennial Texpoart, the International Biennale of Contemporary Engraving, as well as visual artists who have already integrated into the international circuit, being rewarded with numerous awards and distinctions among the most honored. Thus, local artistic life is in a continuous creative effervescence, supported by the numerous exhibitions of consecrated and young artists who come to the audience with a great variety of styles.
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Ward, Wendy. "We Are Commoners: A Craftspace National Touring Exhibition, Curated by Emma Daker and Deirdre Figueiredo." Craft Research 14, no. 2 (September 1, 2023): 317–25. http://dx.doi.org/10.1386/crre_00112_5.
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Li, Yitong. "Comprehend the Characteristics and Influence of the Theme of Urban Worker from the Perspective of Art Sociology." Learning & Education 10, no. 7 (June 7, 2022): 47. http://dx.doi.org/10.18282/l-e.v10i7.2947.
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Through the analysis of art sociology theory, the development causes and characteristics of the theme of “urban worker”
are analyzed and explored.First to define the concept of “urban workers” (including migrant workers, local workers, civilian
heroes, etc.) to the 13th national exhibition of Fine Arts winning works for the scope, to the 11th and 12th exhibition for reference,
select Wang Biao “Get Off Work of No.86”, Cao Dan “Bridge Pouring in The Sun”, Wang Yichan on “Dim Lights” and Lv Xuejing
“Beautiful Scenery Line” several works for analysis.
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Bahji, Zineb Bahji. "Présence Commune, Museum Mohammed VI for Modern and Contemporary Arts (MMVI), Rabat, Morocco, 28.03.2017 - 31.09.2017." Museum and Society 15, no. 3 (January 10, 2018): 359–62. http://dx.doi.org/10.29311/mas.v15i3.2520.
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The present review focuses on the temporary exhibition Presence Commune that was held at Museum Mohammed VI for Modern and Contemporary Arts (MMVI) of Rabat, Morocco, from 28 March to 31 September 2017. The review contextualizes the exhibition Presence Commune and examines the communicative strategies it used to convey its messages. It also explains how this artistic event adds to the various artistic and cultural programmes and events that the Moroccan National Foundation of Museums organizes in the course of democratizing access to culture and promoting harmony and tolerance through the universal language of art. The review also shows how the exhibition reflected the role of MMVI in initiating dialogues among artists and visitors from different ethnicities, religions, and African countries, and how it supportedMorocco’s new cultural agenda.Morocco has made cultural diplomacy a priority after the uprisings of the Arab Spring and the rise of religious and ethnic conflicts in the region of North Africa and theMiddle East.
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Barclay, Craig. "James C.S. Lin and Xiuzhen Li (2018). China’s First Emperor and the Terracotta Warriors." British Journal of Chinese Studies 8, no. 2 (March 15, 2019): 162–64. http://dx.doi.org/10.51661/bjocs.v8i2.15.
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In February 2018 a new exhibition entitled China’s First Emperor and the Terracotta Warriors opened at the World Museum, in Liverpool. Organised in collaboration with the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum, this did not of course represent the first visit of the Terracotta Army to these shores. In terms of public engagement, however, it was undoubtedly a major coup for Liverpool: a small selection of the figures drew some 225,000 visitors to the City Arts Centre in Edinburgh in 1985; whilst the British Museum’s blockbuster 2007-8 exhibition attracted crowds that had not been seen since the ground-breaking Tutankhamun exhibition in 1980. The Liverpool exhibition showcased some 180 items, over half of which had not previously been seen in the UK. Given the range of material on display and the undoubted widespread popular interest in Qin Shi Huang’s Terracotta Army, it is accordingly not surprising that National Museums Liverpool took the decision to produce a new publication to accompany the exhibition
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Kozhanova, Mira. "Curating national renewal : the significance of arts and crafts in the construction of Soviet identity at the 1925 Exposition internationale des arts d�coratifs et industriels modernes in Paris." Art East Central, no. 3 (2023): 37–57. http://dx.doi.org/10.5817/aec2023-3-3.
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At the Exposition internationale des arts d�coratifs et industriels modernes in Paris in 1925, the newly recognised Soviet Union was given a platform to present its ideology through art. It constructed an official narrative of national renewal through a sophisticated exhibition concept that complemented contemporary art (particularly constructivism) with arts and crafts. This article sheds light on why the Soviet officials chose this specific approach and how their strategy was rooted in the earlier exhibition experience of the Russian Empire and the Soviet Union. Focusing on the two sections of arts and crafts presented in Paris � the Kustar goods of Soviet Russia and folk art from other Soviet Republics � the article examines their significance for the carefully constructed Soviet identity of the time. Furthermore, it analyses the contributions of individual organisers to these sections in light of their statements and writings, their professional positions and their prior experience. By illuminating the human factor behind the official narrative, the article exposes a parallel level of interpretation in order to further a more nuanced understanding of the Soviet contribution.
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Swalwell, Melanie, Helen Stuckey, Denise de Vries, Cynde Moya, Candice Cranmer, Sharon Frost, Angela Goddard, Steven Miller, Carolyn Murphy, and Nick Richardson. "Archiving Australian Media Arts: A Project Overview." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 155–66. http://dx.doi.org/10.1515/pdtc-2022-0026.
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Abstract This article presents an overview of the ARC Linkage Project “Archiving Australian Media Arts: Towards a method and a national collection,” which addresses the challenges of preserving digital media artworks that are stored on obsolete media and that require legacy computer environments to access. It lays out the challenges facing digital media arts, articulates the significance of the deposit of local media art organisation archives into the custody of major, jurisdictionally-appropriate cultural institutions, and details the selection of case studies for research from these organisations’ archives and other existing digital media art collections in our partner organisations’ custody. Case studies consist of the ANAT archive (formerly the Australian Network for Art and Technology), floppy disks from the Stan Ostoja-Kotkowski archive, Experimenta Media Art’s exhibition “Virtualities” (1995), dLux media art’s exhibition “Matinaze 97” (1997), and the Griffith University Art Museum’s collection of interactive CD-ROMs. The article reports on progress to date against two of the project’s aims, outlines the collective benefits to partners and to researchers of artworks and other materials from these archives being available, and indicates that access to born digital materials should improve in the near future with digital emulation infrastructure set to be built.
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Ibrahim, Md Nasir, Hazlin Anita Zainal Abidin, Mohd Zahuri Khairani, Eng Tek Ong, and Che Aleha Ladin. "Pameran Ini Saya Punya Kerja: Manifestasi Dua Seni." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 79–85. http://dx.doi.org/10.21315/ws2020.19.7.
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“Ini Saya Punya Kerja: Manifestasi Dua Seni” is a collaborative exhibition organised by Universiti Pendidikan Sultan Idris, University of Malaya, and Yayasan Usman Awang. The exhibition combines academics, painters, and poets to manifest the merger of two arts, the visual arts and the literary arts. The exhibition was officiated by Tan Sri Johan Jaaffar at the University of Malaya Art Gallery on Sunday, 13 February 2020, at 10.00 am. A total of 37 painters with 74 artworks consisting of paintings, installations, sculptures, and photographs were exhibited. All works were translations of the poems written by National Laureate Usman Awang. The most dominant style was abstract expressionism characterised by free spontaneous lines accompanied by bright colours and spontaneous brush strokes. Among the painters with this style were Suzlee Ibrahim (Pahlawan, 2009), Lily Noguchi (Jentayu, 2019), Liu Cheng Hua (Anak Jiran Tionghua, 2019), Sabri Salleh (Duri dan Api, 2019), and Mustafa Salleh (Pahlawan, 2019). There were also semi-abstract works. Among the painters who adopted this style were Haron Mokhtar (Balada Terbunuhnya Beringin Tua di Pinggir Sebuah Bandaraya, 2019), Aizat Amir (Jiwa Hamba, 2019), and Abdul Raoof Ali (Keranda 152, 2019). There were also painters that produced realistic works. Among them were Md Nasir Ibrahim (Bunga Popi 1, 2019 and Bunga Popi II, 2020), and Mohamad Hassan (Tulang-tulang Berserakan: Saksi-saksi Bisu, 2019). The exhibition has achieved the goal of translating Usman Awang’s poems into visual form. Painters were able to play with the semiotic visuals that were a priority in this study.
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Matthews, Dyese L. "A Look at the Black Fashion Museum Collection and Designer Peter Davy, National Museum of African American History and Culture, DC, online exhibition, available since 1 June 2017." Critical Studies in Fashion & Beauty 13, no. 1 (June 1, 2022): 185–92. http://dx.doi.org/10.1386/csfb_00043_5.
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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn, and Yaroslava Toporivska. "The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine." History of science and technology 13, no. 1 (June 30, 2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.
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The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantly replenished with new materials, is the basis for scientific research, scientific advisory, expositional and exhibition work, a rich source for popularizing the achievements of the national theater, music and cinema. The article emphasizes that theater museums, film and music museums are an integral part of the development of world culture. They arose, developed and formed into a separate typological group of art museums. The uniqueness of each theater museum was determined by stationary expositions and temporary exhibitions, which were the main sphere of operation and a form of use and popularization of the processed funds. Reproducing the phenomena and events of the theatrical heritage, expositions and exhibitions visualized the most significant assets of both the past and modern theater and theater science in the language of museum exhibits. Research and analysis of the historical experience of exposition and exhibition activity of theater museums, film and music museums will be important for an objective assessment of the positive and negative consequences of the influence of national and cultural processes on their functioning and development. The challenges faced by theater museums, film museums and music museums in the course of their activities have common features and may vary depending on the specific situation and context. The article analyzes the typical problems and features that theater, film and music museums face in their activities. The article shows that these problems may differ for each specific theater museum depending on its size, financial resources, location and other factors. Their features may vary among theater, music, and film museums, depending on their resources, scale, and specialization. However, solutions to these challenges may include working with conservation professionals, attracting grants and sponsors, developing educational programs, and using new technologies to improve visitor audience engagement.
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Freitas, Kênia. "How the Machine Works." Film Quarterly 74, no. 2 (2020): 54–60. http://dx.doi.org/10.1525/fq.2020.74.2.54.
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In this article, Kênia Freitas documents the growing presence of Black filmmakers in Brazil’s independent cinema exhibition circuits and investigates the larger network of art collectives, film clubs, and film festivals that are contributing to the recent racial reconfiguration in Brazilian cinema. Focusing on three new black film series and festivals—Mostra de Cinema Negro Brasileiro (Paraná), Mostra EGBÉ de Cinema Negro (Sergipe), and Negritude Infinita (Ceará)—all situated outside the more traditional Rio/São Paulo axes of national cinema, Freitas’ discussion of these nascent exhibition networks suggests future strategies for structural transformational change.
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Merrington, Peter, Matthew Hanchard, and Bridgette Wessels. "Inequalities in Regional Film Exhibition: Policy, Place and Audiences." Journal of British Cinema and Television 18, no. 2 (April 2021): 198–222. http://dx.doi.org/10.3366/jbctv.2021.0566.
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This article questions the variety of film exhibition in four English regions. While a regional and national frame is the focus of cultural policy in relation to film audience development in the UK, our analysis examines relational, localised and sub-regional film cultures in order to understand how differing levels of film exhibition influence people's sense of place. This is framed within a discussion of cultural inequality more generally. In the UK, questions of engagement with different types of film exhibition have gained greater prominence recently, but there has been limited attention paid to how audiences understand their geographic relationship with film exhibition. Drawing on 200 semi-structured, qualitative interviews with a wide range of film viewers across four English regions, the North East, North West, South West and Yorkshire and the Humber, we assess perceptions of film exhibition in these regions. In doing so, we characterise five different modes of place in relation to the breadth of film exhibition, from distinctive film cities to mainstream multiplex towns. In particular, we focus on how access to film is simultaneously narrated through both localised proximity to cinemas of different types and virtual access to film through online platforms. This work provides further evidence of the uneven provision of diverse film in England but shows how film audiences relationally interpret their engagement within film as a cultural form.
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Simioni, Ana Paula Cavalcanti. "Des artistes latino-américains au Centre national des arts plastiques : les présences invisibles." Anais do Museu Paulista: História e Cultura Material 32 (March 12, 2024): 1–33. http://dx.doi.org/10.11606/1982-02672024v32e1.
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The article focuses on the presence and visibility of Latin-American artists of the Centre national des arts plastiques (Cnap), in Paris- France. It is the first and most perennial world initiative to create a state fund of works dedicated to “living art,” an initiative that began in the end of the eighteenth century and persists to this day. The study of the temporality of the entrance of works in the collection, pointing to the importance of the decade of 1980, it contributes to the history of the global art by repositioning the institutional impact of the exhibition “Magiciens de la terre,” and the centrality of Paris to the Latin-American artists, especially during exile. In this ample context, we discuss the invisibility of women artists from the corpus of works in the Cnap.
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Míčková, Eva. "Fragmenty Krocínovy kašny z Lapidária Národního muzea. Pohled restaurátora." Časopis Národního muzea. Řada historická 192, no. 1-2 (2023): 29–40. http://dx.doi.org/10.37520/cnm.2023.002.
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Fragments of Krocín’s fountain from the Lapidarium of the National Museum – a restorer’s perspective Krocín’s fountain in Prague’s Old Town Square is an impressive and beautiful stone sculpture work from the second half of the 16th century. Its partial historical reconstruction is now part of the permanent exhibition “Stone Sculpture Monuments in Bohemia from the 11th to the 19th century“ in the Lapidarium of the National Museum. However, only part of the fragments taken over by the National Museum were used for the historical reconstruction in 1991, with another large part remaining stored in the Lapidarium’s depository. Given the planned reconstruction of the Lapidarium building, and the necessary intervention in the permanent exhibition, the question arises of whether it would be possible to display Krocín’s fountain on a larger scale in the future. The aim of this article is to evaluate the physical condition of the original stone fragments that were not used for the exhibition reconstruction. Twenty stone fragments from Krocín’s fountain underwent restoration and laboratory research. Finally, documentation is presented of the conservation of the two most damaged fragments, which were treated in collaboration with students of the Sculpture Workshop of the Academy of Fine Arts in Prague.
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Delahanty, Patricia. "Medal Winners of the National Sculpture Society: 89th Annual Awards Exhibition." Sculpture Review 72, no. 1 (March 2023): 27–35. http://dx.doi.org/10.1177/07475284231164463.
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Delahanty, Patricia. "National Sculpture Society’s 90th Annual Awards Exhibition at Brookgreen Gardens, SC." Sculpture Review 72, no. 4 (December 2023): 15–25. http://dx.doi.org/10.1177/07475284231223404.
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Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908." Ikonotheka 26 (June 26, 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.
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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1908 exhibition differently – as fully designed interiors rather than groups of independent items. Similar changes were then observed in the of shop-window design and in commercial expositions. The fact that they were explicated in terms of ethics reveals a combination of consumerism, aesthetics and morality characteristic of the early 20th century.
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Hylton, Richard. "Eugene Palmer and Barbara Walker." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 100–113. http://dx.doi.org/10.1215/10757163-7916904.
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In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists a certain level of exposure, such initiatives have tended to privilege institutional agendas rather than the very artistic practices they purport to endorse. The paucity of genuine exhibition opportunities and significant publishing are factors that continue to bedevil a wider selection of black British artists. This article focuses on two specific exhibitions and artists: Eugene Palmer’s Didn’t It Rain (2018) and Barbara Walker’s Sub Urban: New Drawings (2015), both organized at the University for the Creative Arts, Farnham, UK. The author stresses the contrasting relationship to photography that each artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices.
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Condraticova, Liliana. "Andrei Negura and transposition of emotions into color." Akademos, no. 3(62) (December 2022): 141–46. http://dx.doi.org/10.52673/18570461.22.3-66.17.
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The present approach represents the vision of a historian on the evolution and development of decorative art in Moldova through the lens of the creation of Andrei Negură, an artist who asserted himself equally in painting and tapestry. He made a sensation at the beginning of his activity in the 1980s with the tapestries he exhibited, shaping a new attitude of society, driving his interest in this genre of decorative arts. His creation, deeply rooted in the aesthetics of traditional weaving, offers outstanding samples of modern art, products of original plastic and technological experiments. Thanks to him, for the first time tapestry began to be studied at the level of a higher education institution, he founded the Department of Textile Arts at the Academy of Music, Theater and Fine Arts, the “Tapestry” specialty. His last personal exhibition, Revelations in Color, at the “Constantin Brâncusi” Exhibition Center in Chisinau, presents him in the fullness of his talent as an author of parietal tapestry, three-dimensional tapestry, easel and applicative graphics, oil painting and tempera painting. Through his complex creation, A. Negură made a significant contribution to the valorization of the national cultural heritage.
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Mirzekhanov, Velikhan. "Imperial Myth as a National Idea: Explicit and Hidden Meanings of the 1931 International Colonial Exhibition in Paris." ISTORIYA 12, no. 6 (104) (2021): 0. http://dx.doi.org/10.18254/s207987840016273-9.
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The article presents an analysis of the colonial exhibition of 1931 in the context of the metamorphosis of the colonial idea in France. After the First World War, the difficulties in managing the colonies were increasingly felt in France. The French political class hoped to give new vitality to the national consciousness, which was threatened by various social-revolutionary and anti-colonial movements, through the reform of colonial policy. The colonial exhibition of 1931 became the apogee of imperial propaganda in the metropolis and a symbol of unity between the Third Republic with its colonies. Its success was associated with the extent to which the colonial idea penetrated French society and with the stabilization of the mother country's relations with her colonies between the two world wars. The colonial discourse of the 1931 exhibition was an apology for republican centrism expressed through the firm positioning of racial superiority, the demonstration of the validity of the ideals of progress inevitably brought about by colonization, and the dominance of French values. The author demonstrates that the new political situation that developed after the Great War contributed to the achievement of colonial consolidation, on the part of the majority of parties and, mainly, through the deployment of the state propaganda machine. The colonies and the colonial question marked the outlines, the brushstrokes, as it were, of a national union. This union between the national and the colonial, the nation and the empire, was twofold. Between the two world wars, national and colonial issues became logically interlinked and interdependent. The author concludes that the 1931 exhibition propagated the idea of the imperial order through the display and presentation of idealized indigenous cultures represented by a variety of artifacts, fine arts, and architecture. The 1931 exhibition became a general imperial holiday, and was intended to serve the unity between the imperial centre and the colonies. It became an important tool of imperial construction, a fairly effective means of broadcasting the official imperial ideology, and a metaphor for the colonial republic, which embodied the cultural, social, and mental characteristics of the imperial nation; its hidden meaning was directed against the growing ideas of colonial nationalism and resistance.
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BLINDER, CAROLINE, and CHRISTOPHER LLOYD. "US Topographics: Imaging National Landscapes." Journal of American Studies 54, no. 3 (February 12, 2020): 461–69. http://dx.doi.org/10.1017/s0021875819000987.
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In 1975, the New Topographics: Photographs of a Man-Altered Landscape exhibition, organized by William Jenkins, at George Eastman House, changed the scope and aesthetics of American landscape photography. Ostensibly pared-back and banal, these black-and-white images formally presented the United States as a series of streets, suburban new builds, industrial sites and warehouses. None bigger than eleven inches by four or thirteen by thirteen, the photographs were also small and unassuming, refusing the grandness and potential sublimity of previous evocations of the US landscape. Rather than present the United States as a series of locations marked by regional and economic differences, photographers such as Robert Adams, Frank Gohlke, Lewis Baltz and Bernd and Hilla Becher now focussed on an increasing homogeneity across terrains, terrains often indeterminable in terms of actual locations, and, more often than not, eerily devoid of human presence. In Neil Campbell's words, the images were “unemotional, flat and appeared everyday, aspiring to ‘neutrality’ with a ‘disembodied eye.’” The New Topographics – according to such readings – differed from earlier depictions of the United States, moving away from the documentary focus on agrarian poverty and urban slums as seen during the Depression, as well as the humanist vision of postwar photographers such as Robert Frank. As William Jenkins put it in the original introduction to the exhibition, New Topographics was a study more “anthropological than critical,” one that would recentre everyday lived experience – not as a collection of individualized narratives, but as a cultural landscape marked by commercial interests above all.
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Way, Jennifer. "Narrative Failures." Anthropos 114, no. 2 (2019): 547–62. http://dx.doi.org/10.5771/0257-9774-2019-2-547.
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This article considers what an unstudied collection of Vietnamese handicraft owned by the Smithsonian National Museum of Natural History reveals about its collecting culture and, conversely, what the collecting culture discloses about the collection. I show how the collecting culture’s activities intersected with American State Department efforts to bring postcolonial South Vietnam into the Free World during the Cold War. Attention to the Smithsonian National Collection of Fine Arts’ exhibition, “Art and Archaeology of Vietnam. Asian Crossroad of Cultures,” also reveals narratives of power and knowledge associated with the collecting culture. Ultimately, these failed the collection by leaving it disregarded.